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(Source: Daily Mirror)

Amy Winehouse’s grieving mum Janis says her daughter was “a physical wreck and completely out of it” the day before she died. Janis spent several hours with her tragic daughter after turning up at her home unannounced. But 27-year-old Amy was in such a bad way that her minders had to help her down the stairs.

This contradicts reports last week that she had beaten her drug and alcohol demons – and adds weight to friends’ fears that she had fallen back into her old ways. At her funeral on Tuesday, her ­devastated dad Mitch said Amy had given up drugs and had been winning her battle with alcohol. But Janis, who had called at her daughter’s home just after midday on Friday, told a friend it seemed she had hit the bottle again.

“Amy was completely out of it,” she said to the friend. “She was in such a state the guys minding her had to go upstairs to get her and help her down the steps. It looked like she had been out drinking the night before and was still drunk or hung over.”

Police are now probing who Amy spent her last hours with and ­whether she was supplied with drugs including ecstasy the night before her body was found at 4 p.m. last Saturday at her home in Camden, North London. It could take up to four weeks for toxicology tests to come back to determine the cause of death.

Janis also told her friend: “I don’t know what happened on that Friday night. I was told she was seen drinking in the bar at the Roundhouse that evening. But how much she drank and what happened next is a mystery. I just think she put her body through too much and it just gave up. If you continue to neglect yourself, there is only so much it can take.”

Amy’s close pal Tom Wright – son of BBC Radio 2 DJ Steve – says friends had turned a blind eye to her using “social drugs” like ecstasy and cannabis on the basis she had quit using crack cocaine and heroin.

Tom, who had not seen Amy for about six months (so really close then), said: “I think maybe some people made a distinction between the hard drugs of her past and the social drugs of the present. I don’t think that’s acceptable but it’s the only explanation I can think of for what happened to her.”

Amy Winehouse, 10 days before her death

The question was frequently asked, for whom does he compose? Certainly, for me (and I know that fortunately I am not the only one). With a few exceptions, Stockhausen’s works are consistently among the music of the last 50 years that gives me the most enjoyment and impresses me the most. This holds up until his later music. For example, Himmelfahrt (Ascension) (2004/5) for synthesizer (or organ), soprano and tenor, and Licht-Bilder (2002) for tenor, trumpet, basset-horn, flute and ring-modulation are, in my view, simply in a league of their own when it comes to, not just quality, but also sheer originality of ideas and the authoritative execution of these in the finest detail and with sublime compositional technique.

One of my favorite at-home concerts is currently Gruppen followed by Himmelfahrt. Both works feature polyphony of strands in different tempi – in the latter, the two hands of the keyboard player play in different simultaneous tempi – and both employ the concept in distinct ways. While Gruppen is gestural music, Himmelfahrt applies a more melodic approach. Both works offer complex listening experiences. At the end of such a “concert” I am exhausted but happily so. And completely drunk, so I now am unable to find the fucking Stockhausen CDs.

The Helicopter Quartet – alas, the only most recent work of Stockhausen that is available outside Stockhausen-Verlag – certainly does not tell the whole story about his more recent music.

Apart from the very good beginning and the terrific end (ascension and descent) I find it most of the time boring, and I seem to share this experience with many others. I have had some moments where I thought I had started to like the music, but then, after listening to some other earlier Stockhausen music, like the two above mentioned works, I really couldn’t bear it.

The extravagant perfomance requirements are the most outrageous in Stockhausen’s oeuvre and not typical. While other works are difficult to perform not just in terms of technique but also in terms of costs, none is of such a forbidding nature. And many later works, not just the composer’s own chamber music, like excerpts from Licht, but also his compositions from the Klang cycle, are relatively easy to perform in monetary terms.

I heard Stockhausen give pre-concert speeches in London three or four times. On each occasion, he was lucid, amusing, enthusiastic, unpretentious and, above all, quite sane. I have no idea why he comes across as such a basket case in interviews. In real life Stockhausen was a very nice, un-arrogant and down-to-earth person – I have experienced this during summer courses, in personal conversations and in exchange of letters.

However, and this is not meant as a critique of his contribution to 20th century music, he had shocking halitosis – and unavoidable, even if you were squeamish about such things, because he would insist on standing right up close to you in a conversation, and suddenly exhaling with a big German noise. I was present when David Atherton and two members of the London Sinfonietta vomited, then fainted because of this.

This post is my tribute to Amy Winehouse, now I’ll never get to have sex with her.

Public Image Limited by Laura Levine

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Amy Winehouse cancels entire tour after disastrous comeback gig
Amy Winehouse: They Said Go, Go, Go

Amy Winehouse booed and jeered by Serbian crowd as she slurs and stumbles her way through Belgrade concert

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Black Dogs Defined

This is the best of me; for the rest, I ate, and drank, and slept, loved and hated, like another: my life was as the vapour and is not; but this I saw and knew; this, if anything of mine, is worth your memory.

(John Ruskin, Sesame and Lilies)

Whatever people say I am, that’s what I’m not.

(Alan Sillitoe, Saturday Night and Sunday Morning)

This is my letter to the world, that never wrote to me.

(Emily Dickinson, This is my letter to the world)

Safe upon the solid rock the ugly houses stand:
Come and see my shining palace built upon the sand!

(Edna St. Vincent Millay, Second Fig)

R.A.D. Stainforth

I was born before The Beatles’ first LP and brought up in the reeking slums of Jericho. I am in love with a woman called Hazel and in love with her daughter, also called Hazel, both of whom I met at Alcoholics Anonymous.

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